미니멀리즘 스타일 만주족(滿洲族)장신구 포장디자인 개발 = Minimalist Style Manchu (滿洲族) Jangshin-gu Development of Packaging Design

다국어 초록 (Multilingual Abstract)

Product packaging is a dual medium of consciousness culture and economic activities, and it plays an important role in building a product image, solidifying the status of a product, and enhancing national culture in consumer awareness while also effectively communicating brand culture, enhancing brand value, and realizing economic benefits. Product packaging is showing a multilateral development pattern in the market as the material life of the public is enriched and the aesthetic level is improved. However, Manchurian jewelry packaging design still has problems such as design delay, homogenization, and even design deficiency, and packaging materials are often limited to plastic bags, square boxes, and velvet pockets, resulting in the lack of independent and dedicated packaging. Jewelry packaging has the basic properties of protection, beautification, storage, and transportation, and at the same time reflects the brand's culture and internal implications. If we follow the old-fashioned approach without introducing new concepts, processes, and materials in a situation where modern society's productivity and packaging technology are rapidly developing, it will not only fail to meet the aesthetic and mental demands of modern consumers, but it will also be difficult to realize sales growth and sustainable development of ethnic brands. Therefore, it is necessary to update design concepts and thinking in a timely manner in line with the times, and only through this can the Manchurian jewelry brand be at the forefront of the times to meet the multidimensional needs of current consumers. In the end, exploring the various expression methods and aesthetic thoughts of ethnic regional jewelry packaging design is an immediate task. Based on this awareness of the problem, this study started from the practical problems faced by Manchurian jewelry packaging, thought about the multi-layered expression method of packaging design, and suggested improvement measures using the art theory of "minimalism" as a guiding principle. By analyzing the ideological implications of minimalism, the transformation of design concepts, and the implications of aesthetic arguments, a new approach to the Manchurian jewelry packaging design was sought, and the basic principles, specific expression methods, and application values that minimalism can be applied to the Manchurian jewelry packaging design were examined in depth using the research method of case presentation, analysis, and induction. In particular, minimalism is not just a process of removing complexity, but a process of returning to the essence of design and strengthening the intrinsic attributes and characteristics of jewelry by deeply exploring and analyzing the molding characteristics, material properties, and cultural implications of Manchurian jewelry. This paper consists of a total of five chapters, and the application of minimalist style Manchurian jewelry packaging design and design practice were the core of the study. By presenting the packaging design of its own brand, revenge as an example, a market-setting aimed at youth, leisure, and fashion was derived, and the visual language of jewelry packaging was embodied by using intuitive representation, meaning expression, and emotion conversion. Through this, consumers' emotional empathy and value recognition were induced, and research theory was incorporated into practical design. The results of the study present a new aesthetic approach to the Manchurian jewelry packaging design, and show that by building brand packaging that breathes with the times and keeps pace with the flow through minimalist design, it is possible to secure discriminatory competitiveness and gain positive reputation among the same brand. Furthermore, it intends to contribute to helping more consumers understand and sympathize with the national culture and spirit behind it in the process of accessing Manchurian jewelry.

국문 초록 (Abstract)

본 연구는 만주족(滿洲族) 전통 장신구 포장디자인을 중심으로 미니멀 리즘 스타일의 조형적 원리와 미학적 가치를 적용하여, 전통문화와 현대 디자인 간의 융합 가능성을 탐구하는 데 목적이 있다. 현대 사회의 디자 인은 복잡한 장식과 정보의 과잉에서 벗어나 단순하고 명료한 시각 언어 를 추구하는 방향으로 발전하고 있으며, 이러한 미니멀리즘의 조형사상 은 전통문화의 시각적으로 재해석하는데 효과적으로 적용될수있다. 따라 서 본 연구는 만주족 장신구 포장디자인의 현황을 분석하고, 미니멀리즘 스타일을 적용함으로써 전통문화의 현대적 계승과 브랜드 정체성의 시각 화를 실현하고자 하였다. 연구 방법으로는 문헌 연구, 사례 분석, 설문조사, 그리고 디자인 개발 을 수행하였다. 문헌 연구를 통해 미니멀리즘의 철학적 기반과 시각적 특성을 규명하고, 만주족 문화의 역사적 배경 및 상징 문양의 의미를 고 찰하였다. 관련 문헌의 조사 결과에 따르면, 전통적인 포장디자인은 시각 적 장식이 과도하고 형식이 복잡하여 소비자의 심미적 만족도를 충분히 충족시키지 못하는 것으로 나타났다. 이러한 문제점을 바탕으로 본 연구는 미니멀리즘 디자인의 핵심 원리 인 “Less is more”를 중심으로, 만주족의 대표적인 전통 문양인 상운(祥 雲), 박쥐(蝙蝠), 복(福), 수(壽) 등의 시각 요소를 단계적으로 단순화하였 다. 전통 문양의 복잡한 선과 패턴을 기호적 형태로 재구성하여, 문화적 상징성을 유지하면서도 현대적 조형미를 구현하였다. 디자인 실험에서는 이러한 단순화 과정을 바탕으로 목걸이의 삼각형 포장디자인, 팔찌의 원 형 포장디자인, 반지의 정방형 포장디자인을 구체적으로 제시하였다. 각 각의 포장 형태는 제품의 기능적 특성과 형태적 연관성을 고려하여 설계 되었으며, 어두운 색조를 활용하여 고급스럽고 절제된 이미지를 부여하 였다. 포장 상단에는 로고를, 하단에는 QR코드와 브랜드 정보를 배치하 여 미적 완성도와 정보 전달성을 동시에 확보하였다. 연구 결과, 미니멀리즘 디자인은 만주족 장신구 포장의 시각적 품질을 향상시키고, 전통문화의 상징적 가치를 현대적으로 재해석하는 데 효과 적인 방법임이 확인되었다. 특히 단순화된 문양과 절제된 색채 조합은 소비자의 인지적 부담을 줄이고, 제품의 본질적 아름다움을 강조하는 데 긍정적인 영향을 미쳤다. 또한 본 연구에서 제시한 디자인 시안은 민족 문화의 정체성과 현대적 브랜드 이미지가 조화를 이루는 실천적 사례로 서, 향후 민족문화 기반 포장디자인의 발전 방향에 이론적 근거를 제공 한다. 결론적으로, 본 연구는 미니멀리즘의 미학이 단순함 속에서 문화의 본 질적 가치를 드러내는 효과적인 시각 언어임을 입증하였다. 이는 전통문 화의 현대적 계승뿐 아니라, 지역 문화산업의 활성화와 글로벌 디자인 경쟁력 제고에도 기여할 수 있는 가능성을 제시한다. 따라서 본 연구는 전통문화 기반 디자인의 지속가능한 발전과 문화유산의 현대적 재창조를 위한 새로운 패러다임을 제시하였다는 점에서 학문적·실천적 의의를 가 진다.

목차 (Table of Contents)

• I. 서론 ···································································································· 1
• 1. 연구 배경 및 목적 ······················································································· 1
• 2. 연구 내용 및 방법 ······················································································· 3
• 3. 연구 프레임워크 ··························································································· 5
• II. 이론적 배경 ··························································································· 6
• 1. 미니멀리즘 스타일의 정의 ········································································· 6
• 2. 미니멀리즘 스타일의 시대적 변화 ··························································· 7
• 1）1950 - 60년대 미니멀리즘 성향 ························································· 7
• 2）1980 - 90년대 미니멀리즘 성향 ························································· 8
• 3）21세기 미니멀리즘 성향 ······································································ 12
• 3. 미니멀리즘 미학 주장이 장신구 포장디자인에 주는 시사점 ··········· 13
• 1）새로운 미학적 사고의 제시 ································································ 14
• 2) 새로운 심미적 가치의 창출 ································································ 14
• 4. 만주족(滿洲族)장신구 포장의 개요 ······················································· 15
• 1) 만주족(滿洲族)문화의 개요 ································································· 15
• 2) 만주족(滿洲族)장신구의 개요 ····························································· 16
• 3) 장신구 포장디자인의 개요 ·································································· 18
• 5. 만주족(滿洲族)장신구 포장디자인의 조사·분석 ·································· 19
• 1）만주족(滿洲族)장신구 포장디자인의 현황 분석 ···························· 19
• 2）만주족 장신구 표장디자인 개선을 위한 문제점 및 원인고찰 ··· 23
• (1）장신구 포장디자인에 대한 인식 부족 ···································· 23
• (2）기술적한계와 비용부담 ······························································ 23
• (3）디자이너의 문화적 이해한계 ···················································· 23
• 6. 만주족(滿洲族)장신구 포장디자인의 발전 추세 ································· 24
• 1) 만주족 장신구 포장디자인과 소비자 심리적 문화적 욕구 충족··········· 24
• 2) 전통과 현대의 융합은 통한 만주족 장신구 문장디라인 혁신 ···· 26
• 7. 국내외 연구 현황 분석 ··············································································· 27
• 1）미니멀리즘 포장디자인 관련 연구 ···················································· 27
• 2）민족화 포장디자인 관련 연구 ···························································· 28
• 3）장신구 포장디자인 관련 연구 ···························································· 29
• III. 미니멀리즘 형식과 만주족(滿洲族) 문화의 상호 융합 ············ 33
• 1. 문화 내포는 장신구 포장디자인의 정신적 핵심 ································· 33
• 1)문화 내포의 전달 ···················································································· 33
• 2)문화 내포의 적재와 저장 ······································································ 34
• 3)사용자의 문화 내포에 대한 인식 ························································ 35
• 2. 미니멀 형식은 장신구 포장디자인의 심미적 표상 ····························· 36
• 1) 미니멀 형식의 표현 ·············································································· 36
• (1）도형의 단순화 ················································································ 36
• (2）색채의 단순화 ················································································ 36
• (3）문자의 질서화 ················································································ 37
• 2) 미니멀 형식의 성찰과 적용 ································································ 38
• 3) 미니멀 형식에 대한 사용자의 인식 ·················································· 39
• IV. 만주족(滿洲族)장신구 포장디자인에서의 미니멀리즘 스타일 적용 탐구 ············ 43
• 1. 미니멀리즘 스타일의 만주족(滿洲族)장신구 포장디자인 적용의 기본 원칙 ············ 43
• 1) 차별성 강화와 특성 유도 ···································································· 43
• 2) 문화 회귀와 정서적 침투 ···································································· 44
• 3) 최소한으로 최대 효과를 추구하는 감산(減法) 원칙 ····················· 45
• 2. 미니멀리즘 스타일이 만주족(滿洲族)장신구 포장 디자인에 적용되는 표현 방법 ······ 46
• 1) 장신구의 직관적 제시법 ······································································ 46
• 2) 장신구의 상징적 의미 표현법 ···························································· 46
• 3) 장신구의 감정 전환법 ·········································································· 47
• 3. 만주족(滿洲族)장신구 포장 디자인에서의 미니멀리즘 스타일 적용가치 ············ 49
• 1) 사회적 가치민족 문화를 전파하고브랜드 가치를 창출 ················ 49
• 2) 판매적 가치독창적 우위 창출과 구매욕구 자극 ···························· 50
• 3) 심미적 가치고정 관념을 탈피하고차별적 미학을 심화 ················ 51
• V. 설문 조사 ···························································································· 61
• VI. 디자인 개발 ····················································································· 65
• 1. 디자인 주제 및 브랜드 문화 ··································································· 65
• 1）디자인 주제 ···························································································· 65
• 2）브랜드 문화 ···························································································· 65
• 2. 디자인 개발 ································································································· 66
• 1）로고 디자인 ···························································································· 66
• 2）문양 디자인 ···························································································· 66
• 3）복수(福壽) 포장디자인 효과도 ·························································· 67
• (1）귀걸이의 직사각형 포장 ·································································· 67
• (2）반지의 사각형 포장 ·········································································· 71
• (3）조갑타오(指甲套)의 직사각형 포장 ·············································· 75
• (4）목걸이의 삼각형 포장 ······································································ 79
• (5）팔찌의 원형 포장 ··············································································· 83
• 3.사용자 감수성 ······························································································ 110
• VII. 결론 ··········································································································· 111
• 참고문헌 ··········································································································· 113
• 부록 ··················································································································· 115
• Abstract ············································································································ 122